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The saxophone has long been considered to be the most versatile musical instrument.The spontaneity of an artist doesn't flow from an unrehearsed consciousness. It flows because they thought about things hard and honestly, as to obtain a level of direction within their performance.
To obtain total creative control, it must be thought about, studied, listened to and internalized even more. When I heard Michael Brecker play in concert the thing that struck me was how he used changes in volume (dynamics) to great effect. Sure, he played fast, high and split notes etc BUT it was his use of dynamics that floored me. Listen to the 30 second long, almost inaudible Low B at the end of Delta City Blues. Get my drift?!? Another great example is Stan Getz, on the CD " Sweet Rain", listen to the dynamics of the entire recording. Especially " Litha". How about Coltrane on " Stardust", or Coltrane on " Lush Life" ? The majority of Trane guys never approach the Prestige / Blue Note Coltrane conceptions, just the later/modal stuff.
Check these You Tube sounds- Listen to the artist
Stan Getz - On Green Dolphin Street (1989)
http://www.youtube.com/watch?v=Q5vs6bWxIUk&feature=related
Dizzy & Stan & Arnie Lawrence - It Don't Mean A Thing/ Check the originality of Arnie Lawrence on alto, this guy by the way set a pathway!!
http://www.youtube.com/watch?v=sCb7pzb507k&feature=related
Gene Ammons & His Sextet - My Foolish Heart (78)
http://www.youtube.com/watch?v=kggJ-KfNXOA
Coleman Hawkins - Indian Summer
http://www.youtube.com/watch?v=gDOXkDFr35M
OR- A MODERN MASTER - Like Charles Lloyd; With- Eric Harland,Geri Allen and Bob Hurst.
http://www.youtube.com/watch?v=S85RFSoXOdk&feature=related
The saxophonist must uncover the spirit of the work through skilled analysis- and thought, and then apply this to the performance. The quality and value of the music goes up many levels as this is employed.
I ask you my friends to add some ldeas you have, of favorite recordings, CD performances that demonstrate this.
To obtain total creative control, it must be thought about, studied, listened to and internalized even more. When I heard Michael Brecker play in concert the thing that struck me was how he used changes in volume (dynamics) to great effect. Sure, he played fast, high and split notes etc BUT it was his use of dynamics that floored me. Listen to the 30 second long, almost inaudible Low B at the end of Delta City Blues. Get my drift?!? Another great example is Stan Getz, on the CD " Sweet Rain", listen to the dynamics of the entire recording. Especially " Litha". How about Coltrane on " Stardust", or Coltrane on " Lush Life" ? The majority of Trane guys never approach the Prestige / Blue Note Coltrane conceptions, just the later/modal stuff.
Check these You Tube sounds- Listen to the artist
Stan Getz - On Green Dolphin Street (1989)
http://www.youtube.com/watch?v=Q5vs6bWxIUk&feature=related
Dizzy & Stan & Arnie Lawrence - It Don't Mean A Thing/ Check the originality of Arnie Lawrence on alto, this guy by the way set a pathway!!
http://www.youtube.com/watch?v=sCb7pzb507k&feature=related
Gene Ammons & His Sextet - My Foolish Heart (78)
http://www.youtube.com/watch?v=kggJ-KfNXOA
Coleman Hawkins - Indian Summer
http://www.youtube.com/watch?v=gDOXkDFr35M
OR- A MODERN MASTER - Like Charles Lloyd; With- Eric Harland,Geri Allen and Bob Hurst.
http://www.youtube.com/watch?v=S85RFSoXOdk&feature=related
The saxophonist must uncover the spirit of the work through skilled analysis- and thought, and then apply this to the performance. The quality and value of the music goes up many levels as this is employed.
I ask you my friends to add some ldeas you have, of favorite recordings, CD performances that demonstrate this.